These parameters determine the amount of pitch enveloping—changes to your basic pitch settings that occur over time—the effect of velocity on the pitch envelope,

and the basic characteristics of the pitch envelope itself.

Pitch

key is

pressed

Envelope

Pitch envelope

Depth

depth

Envelope V-

Pitch envelope ve-

Sens

locity sensitivity

Envelope V-

Pitch envelope

time 1 velocity sen-

sitivity

Envelope V-

Pitch envelope

time 4 velocity sen-

sitivity

Envelope

Pitch envelope lev-

L0–L4

el 0–4

Envelope

Pitch envelope

T1–T4

time 1–4

Modifying the Brightness of a Sound with a Filter (TVF)

The settings for the TVF (Time Variant Filter) allow you to change a Rhythm Tone's timbral content by altering its brightness or thickness.

Parameter

TVF

Filter Type

Filter type

Cutoff Fre-

Cutoff fre-

quency

Value

Description

C-1–G9

This selects the basic pitch at which the Rhythm Tone will play.

-50– +50

This adjusts the pitch of the percussion instrument sound in 1-cent steps (1/100th of a semitone) over a range

of half a semitone up or down.

0–1200

This specifies the width of random pitch deviation that will occur each time a key is pressed. If you don't want

random pitch changes, set it to 0. The parameter can be adjusted in units of 1 cent (1/100th of a semitone).

Time

key is

released

-12– +12

This determines the amount of pitch enveloping to be used—higher settings result in more extreme envelop-

ing. Negative (-) settings invert the direction of the changes made by the Pitch Envelope.

-63– +63

Adjust this parameter when you want your keyboard playing dynamics (velocity) to affect the amount of pitch

enveloping. With higher settings, there will be a greater difference in the amount of enveloping when notes are

played softly or when they're played hard. Negative (-) settings will reverse the direction of change.

-63– +63

Use this parameter when you want keyboard playing dynamics (velocity) to affect T1 (Time 1) of the pitch en-

velope. With higher settings, the T1 value will change more significantly depending on whether you play softly

or with greater force. With positive (+) settings, greater keyboard velocity will reduce the T1 setting. With neg-

ative (-) settings, greater keyboard velocity will increase the T1 setting.

-63– +63

Use this parameter when you want key-off velocity—the speed at which you release a key—to affect T4 (Time

4) of the pitch envelope. With higher settings, the T4 value will change more significantly depending on wheth-

er you release the key slowly or quickly. With positive (+) settings, faster key-off velocity will reduce the T4

setting. With negative (-) settings, faster key-off velocity will increase the T4 setting.

-63– +63

Specify the pitch envelope levels. They determine how much the pitch changes from the reference pitch (the

value set with Coarse Tune and Fine Tune) at each point. Positive (+) settings cause the pitch to be higher than

the standard pitch, and negative (-) settings cause it to be lower.

0–127

Specify the pitch envelope times. Higher settings lengthen the time until the next pitch is reached. (For exam-

ple, T2 is the time over which the pitch changes from L1 to L2.)

Value

Description

OFF,

This selects a filter type. A filter typically reduces, or attenuates, a specific frequency range within a Tone in order to

LPF,

accentuate its other frequencies.

BPF,

OFF: No filter is used.

HPF,

LPF: A Low Pass Filter reduces the volume of frequencies above the cutoff frequency in order to round off, or un-

PKG,

brighten, the sound. This is the most common filter used in synthesizers.

LPF2,

BPF: A Band Pass Filter reduces the volume of frequencies below and above the cutoff frequency range. This is

LPF3

most effective when creating sounds with strong characteristics since it can accentuate a desired range of frequen-

cies anywhere in the sound.

HPF: A High Pass Filter reduces the volume of the frequencies below the cutoff frequency. This is suitable for cre-

ating percussive sounds by rolling of their lower frequencies, thus emphasizing their higher ones.

PKG: A Peaking Filter emphasizes frequencies around the cutoff frequency by raising their level. You can use this

to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.

LPF2: Low Pass Filter 2. This reduces the volume of all frequencies above the cutoff frequency. This differs from

LPF in that you can control the amount of the reduction using the TVF ENVELOPE settings while still maintaining

a fixed cutoff frequency. This can be very effective with acoustic-instrument-based Tones, since nothing is done to

weaken the power and energy of the sound.

* This disables the Resonance setting.

LPF3: Low Pass Filter 3 reduces the volume of frequencies above the cutoff frequency. While similar to LPF2, it

filter reduces the frequencies more gently than LPF2. This can be very effective with acoustic-instrument-based

Tones, since nothing is done to weaken the power and energy of the sound.

* This disables the Resonance setting.

0–127

This selects the frequency at which the filter begins to have an effect on the waveform's frequency components.

With LPF/LPF2/LPF3 selected for the Filter Type parameter, lower cutoff frequency settings reduce a Rhythm

Tone's upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

When Filter Type is BPF, the cutoff frequency setting determines the range of frequencies within the Rhythm Tone

that will be heard. This can be useful when creating distinctive sounds.

When Filter Type is HPF, higher settings of the cutoff frequency decrease the level of the Rhythm Tone's low fre-

quencies, preserving its brighter qualities.

When Filter Type is PKG, the cutoff frequency setting determines the range of frequencies to be emphasized.

Chapter 2. Creating a Rhythm Set

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Modifying A Rhythm Tone's Pitch (Pitch); Modifying The Brightness Of A Sound With A Filter (Tvf) - Roland XV-5050 Owner's Manual